to love the rise/pt.2 is a multimedia dance project grounded in physical practice, collective imagination, and relationships, created by marion spencer and collaborators Ogemdi Ude, Kimiko Tanabe, s. lumbert, slowdanger, Symara Johnson, Tara Sheena, Malcolm-x Betts, Athena Kokoronis, Myssi Robinson, HandyQueers, Stephanie Acosta, Lindsey Jennings, Meghann Trago, Iris McCloughan, jess pretty, Shana Crawford and theo armstrong.

Emerging out of a solo marion built in 2019-2020 (to love the rise/pt.1), the collaborative process has developed through an apocalypse previously imagined, and now lived, offering a feminine, feminist vision of a world built from the detritus of our current one. Through a collage of movement, vocalizations, live installation, photography, film and carpentry, a new Utopia is composted, built and traversed by the collective.

Choreography and direction by marion spencer
Roulette Intermedium (Brooklyn, NY)
October 2022
Photo by Whitney Browne

In place of catastrophe, a clear night sky explores transgenerational resilience within a disability justice framework through voice and movement.

Incorporating vocalization, audio  description, scent, and tactile elements, iele paloumpis creates an immersive,  multi-sensory landscape that invites blind, visually impaired, and low vision audience members into the poetics of movement, de-centering sight as a primary mode of experiencing dance, prompting nuanced forms of perception. A multi-disciplinary cast of artists and collaborators moves through the work with varied relationships to disability, race, class, gender and sexuality, each embodying a unique history. 

Directed by iele paloumpis
Created and performed in collaboration with the Core Cast:
Marielys Burgos-Meléndez, Seta Morton, Alejandra Ospina, M. Rodriguez, Ogemdi Ude, Krishna Washburn, and Marýa Wethers
Narrative Audio Description: Alejandra Ospina
Guest Singers: Rae De Vine, Joanna Groom, CJ Holm, Samita Sinha, and Adrien Lorenzo Weibgen

Power is everywhere, in our relationships, our bodies, our beds, behind screens, and between the artist and her audience. In her 20-part multimedia opus, THE CHAMBER SERIES (2017-2021), SHAWNÉ MICHAELAIN HOLLOWAY uses the languages of BDSM, animal training, algorithms, and robotics to explore how power, desire, and violence are inextricably interconnected from our most intimate to our most public relationships.

._SUITABLE_FOR.EXE — part expanded cinema installation, part evening-length performance–marks the end of the series and is organized around scores. Ranging from direct commands to subtle interventions the performers and audience members have to negotiate how to respond to the power at play. To the artist, BDSM’s explicit rules around submission and domination offer the opportunity to recognize more clearly how in our lives “pleasure, love, desire, violence, and anything that could be dark or dangerous are in conversation with each other at all times.”

Created by SHAWNÉ MICHAELAIN HOLLOWAY
Performance Space New York (New York, NY)
Performers include: Ogemdi Ude, Trinity Dawn Bobo, Estado Flotante, Miguel Angel Guzmán, and Reed Rushes
October 2021
Photo by Maria Baranova

Haegue Yang is known for genre-defying, multimedia installations that interweave a range of materials and methods, historical references, and sensory experiences. Handles, Yang’s installation commissioned for MoMA’s Marron Atrium, features six sculptures with daily performance activations, dazzling geometries, and the play of light and sound, to create a ritualized, complex environment with both personal and political resonance.

Created by Haegue Yang for the Museum of Modern Art (New York, NY)
Performers include: Martita Abril, Kristel Baldoz, Christiana Cefalu, Ayano Elson, Sb Fuller, Jessica Gaines, Jessie Gold, Honey Jernquist, Delaney McDonough, Lydia Okrent, Alex Romania, Ogemdi Ude, Vanessa Vargas, Anh Vo, and Nicki Wong
Fall 2019-Spring 2020

Éva Mag transforms The Gym at Judson Memorial Church into a factory for the production of clay bodies. The artist creates a durational work in this historic space, celebrated for its role in the evolution of postmodern dance by artists such as Yvonne Rainer, Robert Morris and Simone Forti, whose groundbreaking work explored everyday movement, spontaneity, and the relationship between bodies and objects. Together with ten movement artists and performers, the ensemble experiments with improvisation and sculpts ten clay sculptures out of textile skins.

Created by Éva Mag for Performa 19
In collaboration with performers: Ogemdi Ude, Elinor Tollerz Brattby, Rosemary Carroll, Matty Davis, Eryka Dellenbach, Sarah Donnelly, Kristen De Lillo, Alex Romania, Rakia Seaborn, and Anh Vo
Judson Memorial Church (New York, NY)
November 2019

A public improvisational score featuring four hours of intimacy, contact, and consent among 24 artists, each with their distinct gender and sexual identities and unique backgrounds. The installation was performed as part of the World Pride celebration of the 50th anniversary of the Stone Wall riots. Performed in the World Trade Center Oculus.

Directed by Raven White of BIRDHOUSE In collaboration with musician Jonah Udall
June 2019
Photos and footage by Liana Kleinman

Music video for ‘Hush’ a single by Lola Scott

Directed and produced by Hannah Dougherty
Choreographed and performed by Ogemdi Ude
Melbourne, Australia
March 2018

Music video for “More Than This” - the first single from Amaya Laucirica’s album ‘Rituals’

Directed, filmed, and edited by Geoffrey O'Connor
Choreographed and performed by Ogemdi Ude
Melbourne, Australia
June 2017

In this new work for the Adelaide Biennial, Gebhardt immerses the viewer in a square room with four large projections. Each screen holds a familiar Australian landscape: a salt lake, a rock formation, a sandy desert and a waterfall in a forest. The images meet one another along matching horizon lines. This allows for a continuum in both time and place, which is emphasized by the choreographed sequences of ten dancers in each environment. Forty individuals from diverse backgrounds have been chosen to expand normative ideas of the body. The ritual dance movements that unfold on screen amongst the ensemble have been scripted by Gebhardt to represent the becoming and decline of the human in and of the natural world.

Created by Amos Gebhardt
Choreography by Melanie Lane
4 channel video artwork, sound, 34 minutes
2018